Entertainment Weekly (10/11/96, p.93) - "Sanborn works that fragile line between pop and jazz better than most anyone, and he's been doing it long enough to know how to keep away from elevator-bound banalities. His latest falls into a familiar groove, and that's not a bad thing..." - Rating: BJazzTimes (2/97, p.96) - "Fans of David Sanborn's alto sax sound will welcome his 14th solo issue of urban pop-jazz compositions that fit well with the smooth-jazz idiom prevalent on radio today....Sanborn's vibrato-rich solos carry vestiges of his early R&B work..."80.47036

JazzTimes (p.68) - "There's a joyful bounce to David Sanborn's playing on HERE AN DGONE that stands up to repeated listening. You get the feeling he had a ball recording it."Record Collector (magazine) (p.93) - 4 stars out of 5 -- "[With] ear-catching cameos...but they don't distract from Sanborn's gutsy sax, which shines most refulgent on Gil Goldstein's elegant big band arrangements of 'St. Louis Blues' and 'Basin St. Blues.' Undoubtedly Sanborn's best set in years."0.422341

Rolling Stone (p.74) - 4 stars out of 5 -- "The title song might be Bowie's best ever, with the rhythm inspiring his most passionate love letter to his fans."Q (p.134) - 4 stars out of 5 -- "For one album only, he swooped, strutted and sang lyrics like, 'sho'nuff', all of it convincing. He even sneaked in some big ideas..."Q (6/91) - 5 Stars - Indispensable - "From '75, 'Young Americans' saw Bowie abandon the mock-apocalyptic rock of his previous three LPs to climb aboard the Philadelphia soul train sound, 'Young Americans'' 'relentless plastic soul', as Bowie dubbed it, harnessed his writing to the feverish light funk which would, in a few years' time, mutate into world-conquering disco..."Q (11/99, pp.140-1) - 4 stars out of 5 - "...Bowie's first outright dabble with 'plastic soul' (his description) and provisionally entitled 'Dancin', was trademarked by floppy fringe and smart, tailored jacket, but the balmy guitar of Carlos Alomar is its true signature..."CMJ (p.48) - "[With] waves of R&B vocal-backing, crests of crunchy sax work from David Sanborn and, of course, Bowie's affected-yet-restrained blues croonery."0.2639631

Rolling Stone (p.74) - 4 stars out of 5 -- "The title song might be Bowie's best ever, with the rhythm inspiring his most passionate love letter to his fans."Q (p.134) - 4 stars out of 5 -- "For one album only, he swooped, strutted and sang lyrics like, 'sho'nuff', all of it convincing. He even sneaked in some big ideas..."Q (6/91) - 5 Stars - Indispensable - "From '75, 'Young Americans' saw Bowie abandon the mock-apocalyptic rock of his previous three LPs to climb aboard the Philadelphia soul train sound, 'Young Americans'' 'relentless plastic soul', as Bowie dubbed it, harnessed his writing to the feverish light funk which would, in a few years' time, mutate into world-conquering disco..."Q (11/99, pp.140-1) - 4 stars out of 5 - "...Bowie's first outright dabble with 'plastic soul' (his description) and provisionally entitled 'Dancin', was trademarked by floppy fringe and smart, tailored jacket, but the balmy guitar of Carlos Alomar is its true signature..."CMJ (p.48) - "[With] waves of R&B vocal-backing, crests of crunchy sax work from David Sanborn and, of course, Bowie's affected-yet-restrained blues croonery."0.2639631

"[Q]uasi-hipster Cavett took rock seriously and often devoted entire programmes to top stars of the day..." Mojo "[The] performances soar, like Joni Mitchell's a cappella 'Fiddle and the Drum' and Bowie's 'Young Americans' soul shtick." Entertainment Weekly "[Cavett] provided a younger and more cerebral alternative to the raucous, Vegas-styled jaw session on the other two networks. Cavett hosted with style, intelligence and decorum..." Sight and Sound0.2231712